Sesil B. DeMil - Cecil B. DeMille - Wikipedia

Sesil B. DeMil
Ochiqlik portreti, v. 1920 yil
Tug'ilgan	Sesil Blount DeMille (1881-08-12)1881 yil 12-avgust Massachusets shtatidagi Ashfild, BIZ.
O'ldi	1959 yil 21 yanvar(1959-01-21) (77 yosh) Gollivud, Kaliforniya, AQSh
Dam olish joyi	Gollivudning abadiy qabristoni
Millati	Amerika
Olma mater	Pensilvaniya harbiy kolleji Amerika Dramatik San'at Akademiyasi
Kasb	Prodyuser, rejissyor, muharrir, ssenariy muallifi, aktyor
Faol yillar	1899–1958
Siyosiy partiya	Respublika
Turmush o'rtoqlar	Constance Adams DeMille ​ ​ (m. 1902)​
Bolalar	4, shu jumladan Ketrin DeMil (qabul qilingan) va Richard de Mille (qabul qilingan)
Ota-ona (lar)	Genri Cherchill de Mille Matilda Beatrice deMille
Qarindoshlar	Uilyam C. deMille (aka) Agnes de Mille (opa) Peggi Jorj (jiyan)
Veb-sayt	Rasmiy veb-sayt

Sesil Blount DeMille (/ˈsɛsaldəˈmɪl/; 1881 yil 12 avgust - 1959 yil 21 yanvar) amerikalik kinorejissyor va prodyuser. 1914-1958 yillarda u ikkala 70 ta xususiyatni yaratdi jim va ovozli filmlar. U asos solgan otasi sifatida tan olingan Amerika kinosi va kino tarixidagi eng tijorat jihatdan muvaffaqiyatli prodyuser-rejissyor. Uning filmlari epik miqyosi va kinematik namoyishi bilan ajralib turardi. Uning jim filmlarida ijtimoiy dramalar, komediyalar, G'arbliklar, farslar, axloqiy o'yinlar va tarixiy tanlovlar mavjud edi.

DeMille tug'ilgan Massachusets shtatidagi Ashfild va o'sgan Nyu-York shahri. U o'z karerasini 1900 yilda sahna aktyori sifatida boshladi. Keyinchalik u sahna asarlarini yozish va boshqarishga o'tdi, ba'zilari esa Jessi Laski, kim edi a vedvil ishlab chiqaruvchi. DeMille-ning birinchi filmi, Squaw Man (1914), shuningdek, Gollivudda suratga olingan birinchi to'liq metrajli film bo'lgan. Uning irqlararo sevgi hikoyasi uni tijorat jihatdan muvaffaqiyatli qildi va birinchi bo'lib e'lon qildi Gollivud AQSh kinoindustriyasining uyi sifatida. Uning ishlab chiqarishlarining davomiy muvaffaqiyati asos solishga olib keldi Paramount rasmlari bilan Lasky va Adolf Zukor. Uning birinchi Injil dostoni, O'n amr (1923), ham tanqidiy, ham tijorat muvaffaqiyatidir; yigirma besh yil davomida Paramount daromad rekordini ushlab turdi.

DeMille boshqargan Shohlar qiroli (1927), tarjimai holi Iso, bu uning sezgirligi uchun ma'qullandi va 800 milliondan ortiq tomoshabinni qamrab oldi. Xoch belgisi (1932) kinematografiyaning barcha jihatlarini o'zida mujassam etgan birinchi ovozli film ekanligi aytiladi. Kleopatra (1934) uning nomzod bo'lgan birinchi filmi edi "Eng yaxshi film" uchun Oskar mukofoti. Filmni ishlab chiqarishda o'ttiz yildan ortiq vaqt davomida DeMille o'z karerasida eng yuqori cho'qqiga chiqdi Shimshon va Dalila (1949), 1950 yildagi eng ko'p daromad keltirgan filmga aylangan Bibliya eposi. Injil va tarixiy rivoyatlar bilan bir qatorda, inson tabiat kuchlariga qarshi kurash qonunlarini tasvirlashga harakat qilgan "neo-naturalizm" ga yo'naltirilgan filmlarni ham suratga oldi.

U o'zining birinchi nominatsiyasini oldi Eng yaxshi rejissyor uchun Oskar mukofoti uning sirk dramasi uchun Erdagi eng buyuk shou (1952), ikkalasida ham g'olib chiqqan "Eng yaxshi film" uchun Oskar mukofoti va "Oltin globus" mukofoti eng yaxshi kinofilm - Drama. Uning so'nggi va eng taniqli filmi, O'n amr (1956), shuningdek, "Eng yaxshi filmlar akademiyasi" mukofotiga nomzod, hozirda inflyatsiyaga moslashtirilgan barcha davrlarning sakkizinchi eng ko'p daromad keltiradigan filmi. Eng yaxshi film mukofotlaridan tashqari, u mukofotga sazovor bo'ldi Akademiyaning faxriy mukofoti filmdagi hissalari uchun Palma d'Or (vafotidan keyin) uchun Birlik Tinch okeani (1939), a DGA mukofoti umr bo'yi yutuq uchun va Irving G. Talbergning yodgorlik mukofoti. U birinchi qabul qiluvchi edi Oltin globus Sesil B. DeMille mukofoti, uning sharafiga nomlangan. Vaqt o'tishi bilan DeMilning kinorejissyor sifatida obro'si oshdi va uning faoliyati ko'plab boshqa filmlar va rejissyorlarga ta'sir ko'rsatdi.

Biografiya

1881–1899: dastlabki yillar

Nyu-Yorkdagi Amerika Dramatik San'at Akademiyasi

Sesil Blount DeMille^{[eslatma 1]} yilda 1881 yil 12 avgustda tug'ilgan pansionat ning asosiy ko'chasida Massachusets shtatidagi Ashfild, ota-onasi yozda ta'tilga chiqqan joyda.^[4] 1881 yil 1 sentyabrda oila yangi tug'ilgan DeMille bilan Nyu-Yorkdagi kvartirasiga qaytib keldi.^[4] DeMillega buvisi Cecelia Volf va Margarete Blount nomlari berilgan.^[5] U uchta farzandning ikkinchisi edi Genri Cherchill de Mille (1853 yil 4 sentyabr - 1893 yil 10 fevral) va uning rafiqasi Matilda Beatrice deMille (Shou Shou; 1853 yil 30-yanvar - 1923 yil 8-oktabr), Beatrice nomi bilan tanilgan.^[6] Uning ukasi, Uilyam C.Demil, 1878 yil 25-iyulda tug'ilgan.^[7] Genri deMil, ajdodlari gollandiyalik-belgiyalik bo'lgan, a Shimoliy Karolina - tug'ilgan dramaturg, aktyor va oddiy o'quvchi Yepiskop cherkovi.^[8] Demilning otasi ham ingliz tili o'qituvchisi bo'lgan Kolumbiya kolleji (hozirgi Kolumbiya universiteti).^[9] U sifatida ishlagan dramaturg ning dastlabki yillarida ma'mur va o'qituvchi Amerika Dramatik San'at Akademiyasi, 1884 yilda Nyu-Yorkda tashkil etilgan.^[10]

Genri deMille tez-tez hamkorlik qilgan Devid Belasko dramaturgiya yozishda.^[11] Ularning eng taniqli hamkorliklari kiradi Xotin, Lord Chumley, Xayriya balliva Erkaklar va ayollar.^[9] DeMilning onasi Baterris, adabiy agent va ssenariy muallifi, uning ota-onasi ikkalasi edi Nemis yahudiy merosi, Genri deMilga 1876 yil 1-iyulda, ota-onalari turli xil dinlarga ega ekanliklari sababli noroziligiga qaramay, turmush qurishgan.^[12] 1871 yilda u 18 yoshida ota-onasi bilan Angliyadan hijrat qilgan va ular shu erda yashashgan Bruklin. Beatris o'rta sinf ingliz oilasida o'sgan.^[13] DeMillning ota-onasi Nyu-Yorkdagi musiqa va adabiy jamiyat a'zolari sifatida uchrashishgan. Genri uzun bo'yli, qizil boshli talaba edi. Beatris aqlli, bilimli, ochiqchasiga va irodali edi.^[14] Ular turmush qurganlarida, Beatrice episkopalizmga o'tdi.^[14]

DeMille jasur va o'ziga ishongan bola edi.^[15] U teatrga muhabbatini otasini tomosha qilish paytida va Belaskoning ularning o'yinlarini mashq qilishini ko'rgan va DeMille uchun doimiy xotirasi otasi va aktyori bilan tushlik qilgan. Edvin But.^[16] Bolaligida DeMil "Chempion haydovchi" deb nomlangan alter-ego yaratdi, bu Robin Gudga o'xshash xarakter, uning ijodkorligi va tasavvurining isboti.^[17] Oila Shimoliy Karolina shtatidagi Vashingtonda yashagan.^[18] Genri uch qavatli bino qurmaguncha Viktoriya davri - uning oilasi uchun uslubdagi uy Pompton Leyk, Nyu-Jersi; ular ushbu mulkka "Pamlico" deb nom berishdi.^[19] Jon Filipp Sousa oilaning do'sti edi va DeMille qo'shni qo'shiqchini havoga tashlaganini esladi Enni Okli uning otishni o'rganish bilan shug'ullanishi mumkin.^[20] DeMilning singlisi Agnes 1891 yil 23 aprelda tug'ilgan; onasi deyarli tug'ilishdan omon qolmadi.^[21] Agnes 1894 yil 11 fevralda, uch yoshida umurtqa pog'onasi meningitidan vafot etadi.^{[22][2-eslatma]} DeMillning ota-onasi shahardagi xususiy maktabni boshqargan va Masih yepiskop cherkoviga tashrif buyurgan. DeMille ushbu cherkov 1923 yilgi versiyasining hikoyasini tasavvur qiladigan joy ekanligini esladi O'n amr.^[24]

DeMille yoshligida, v. 1904 yil

1893 yil 8-yanvarda qirq yoshida Genri de Mille to'satdan vafot etdi tifo isitmasi, uchta bolasi bilan Beatriseni tark etdi. Oilasini ta'minlash uchun u 1893 yil fevral oyida o'z uyida Genri C. DeMille qizlar uchun maktabini ochdi.^[25] Maktabning maqsadi yosh ayollarga ayollarning o'ziga, uyiga va vataniga bo'lgan burchini to'g'ri tushunishga va bajarishga o'rgatish edi.^[26] Genri deMil vafotidan oldin Beatris erining teatr intilishlarini "ishtiyoq bilan qo'llab-quvvatlagan". Keyinchalik u ikkinchi ayol o'yin brokeri bo'ldi Broadway.^[27] Genri DeMill o'lim to'shagida u xotiniga karerada noaniqligi va ko'ngli qolganligi sababli o'g'illarining dramaturg bo'lishini istamasligini aytdi. DeMillni o'qitish va hayotiy ko'nikmalarini rivojlantirish uchun onasi DeMillni unga yubordi Pensilvaniya harbiy kolleji (hozirgi Widener universiteti) yilda Chester, Pensilvaniya, o'n besh yoshida.^[28] U maktabga qo'shilish uchun qochib ketdi Ispaniya-Amerika urushi, ammo yosh talabiga javob berolmadi.^[9] DeMille pokiza, aqlli, sport bilan shug'ullanadigan va qat'iyatli o'spirin edi.^[29] Ma'lumotlarga ko'ra, harbiy kollejda, uning bahosi o'rtacha bo'lsa-da, u shaxsiy xulq-atvorida ustun bo'lgan.^[30] DeMille (1900 sinf) Amerikaning dramatik san'at akademiyasida qatnashgan va uni tugatgan, u erda otasining akademiyadagi xizmati tufayli u bepul o'qigan. Uning bitiruv namoyishi o'yin edi Arkadiy izi. Tomoshabinlar ichida edi Charlz Frohman DeMilleni o'z o'yiniga kim tashlaydi Yuraklar - karnaylar, DeMille-ning Broadway-dagi debyuti.

1900–1912: teatr

Charlz Frohman, Konstans Adams va Devid Belasko

Sesil B. DeMil o'z faoliyatini teatr kompaniyasida sahnada aktyor sifatida boshladi Charlz Frohman 1900 yilda. U aktyor sifatida birinchi marta 1900 yil 21 fevralda spektaklda chiqdi Yuraklar - karnaylar Nyu-Yorkda Bog 'teatri.^[31] 1901 yilda DeMille prodyuserlikda rol o'ynadi Tavba, Bo'lish va ushlab turishva Siz masonmisiz?^[32] Yigirma bir yoshida Sesil B. DeMil uylandi Konstans Adams 1902 yil 16-avgustda Adamsning Nyu-Jersidagi East Orange shahridagi otasining uyida. To'y marosimi kichik edi va Beatrice deMille oilasi tashrif buyurmadi. Tomonidan taklif qilingan Simon Luvish bu DeMillning yahudiy merosini yashirish uchun edi. Adams turmush qurish paytida 29 yoshda edi, DeMilladan sakkiz yosh katta edi.^[33] Ular Vashington shahridagi teatrda, ikkalasi ham rol o'ynab yurishganida uchrashishgan Yuraklar - karnaylar.^[34]

Ularning yosh farqi jinsiy nomuvofiqlikka olib keldi; DeMillning so'zlariga ko'ra, Adams "bunday zo'ravonlik va yovuz ehtiroslarni his qilish" uchun juda "toza" edi.^[35] DeMille, uning rafiqasi va Adamsga qaraganda, shafqatsiz jinsiy imtiyozlar va fetishlarga ega edi, chunki DeMille o'zining sodiq nikohining tashqi ko'rinishini saqlab, shu bilan birga o'ziga xos jinsiy kinklari uchun savdo uyi sifatida bir necha uzoq muddatli bekalari bo'lishiga imkon berdi.^[36] Adams DeMille bilan jinsiy aloqada bo'lishni xohlamadi, lekin uning ishlariga ahamiyat bermadi, chunki u jinsiy aloqa va muhabbat bir-biriga bog'liq emasligini his qildi; u o'zini yolg'iz DeMille xonim ekanligini bilar edi.^[37] DeMillning ishlaridan biri uning ssenariy muallifi Jeni Makferson edi.^[38] Nikohdan tashqari ishlarda obro'siga qaramay, DeMille o'zining yulduzlari bilan ish tutishni yoqtirmasdi, chunki u bu rejissyor sifatida boshqaruvni yo'qotishiga olib keladi deb o'ylardi. U qachon o'zini tuta oladigan voqeani aytib berdi Gloriya Swanson unga tegishdan bosh tortib, tizzasiga o'tirdi.^[39]

1902 yilda u kichik rol o'ynadi Hamlet.^[32] Publitsistlar uning aktyor bo'lishini to'g'ridan-to'g'ri va prodyuserlikni o'rganish uchun yozgan deb yozishgan, ammo DeMille to'lovlarni to'lash uchun aktyorga aylanganini tan oldi.^[32] 1904 yildan 1905 yilgacha DeMille rafiqasi Konstans bilan aktsionerlik teatri aktyori bo'lib yashashga harakat qildi. DeMille 1905 yilda reprise qildi Hamlet Osrik kabi.^[40] Uning ukasi Uilyam o'zini dramaturg sifatida tanitgan va ba'zan uni hamkorlikka taklif qilgan.^[17] DeMille va Uilyam hamkorlik qildilar Dahiy, Qirollik o'rnatilganva Beshdan keyin.^[41] Biroq, ularning hech biri juda muvaffaqiyatli bo'lmagan; Uilyam deMil eng ko'p yolg'iz ishlaganida muvaffaqiyatga erishgan.^[41] Ba'zida DeMille va uning ukasi afsonaviy impresario bilan ishlagan Devid Belasko, otasining do'sti va hamkori bo'lgan.^[42] Keyinchalik DeMille Belaskoni moslashtirdi Oltin G'arbning qizi va Rancho gulasiva Virjiniya shtatidagi Uorrens filmlarga.^[43] DeMille Belasco-ning asosini yaratgan Piter Grimmning qaytishi.^[41] Piter Grimmning qaytishi tortishuvlarga sabab bo'ldi; ammo, Belasko DeMillening noma'lum ssenariysini olgani uchun, personajlarni o'zgartirdi va unga nom berdi Piter Grimmning qaytishi, uni ishlab chiqarish va o'z ishi sifatida taqdim etish. DeMille "Sesil DeMille g'oyasi asosida" deb nomlangan. O'yin muvaffaqiyatli o'tdi va DeMill bolaligidagi buti uning asarini ko'chirganidan xavotirda edi.^[44]

Teatrga bo'lgan qiziqishni yo'qotish

DeMille keyinchalik filmlarda suratga olgan aktyorlar bilan sahnada ijro etdi: Sharlotta Uoker, Meri Pikford va Pedro de Kordoba. DeMille shuningdek, spektakllarni tayyorlagan va boshqargan.^[45] Uning 1905 yildagi ijrosi Shahzoda Chap chunki Xantington grafligi tomoshabinlar tomonidan yaxshi qabul qilindi.^[40] DeMille sahna tomoshalari oralig'ida o'zining bir nechta spektakllarini yozgan, ammo dramaturgiyasi u qadar muvaffaqiyatli bo'lmagan.^[41] Uning birinchi o'yini edi "Pretender-A" prologda o'ynaydi va 4 ta akt XVII asrda Rossiyada o'rnatilgan.^[40] U yozgan yana bir bajarilmagan pyesa edi Shamollar o'g'li, mifologik tub amerikaliklarning hikoyasi.^[46] DeMille va uning rafiqasi uchun hayot sayohat qiluvchi aktyor sifatida qiyin bo'lgan; ammo sayohat unga hali ko'rmagan Qo'shma Shtatlarning bir qismini boshdan kechirishga imkon berdi.^[47] DeMille ba'zida direktor bilan ishlagan E.H. Sothern, DeMillning keyinchalik uning ishida mukammallikka ta'sir qilgan.^[47] 1907 yilda, Beatrice talabalaridan biri bilan bo'lgan janjal tufayli, Evelin Nesbit, Genri deMille maktabi o'quvchilarini yo'qotdi. Maktab yopildi va Beatris bankrotlik to'g'risida ariza berdi.^[48] DeMille dastlab yana bir asar yozdi Serjant Iblis g'amxo'rlik qilishi mumkin nomi o'zgartirildi Qirollik o'rnatilgan. Shuningdek, u "Standard Opera" kompaniyasi bilan gastrol safarlarida bo'lgan, ammo DeMillening qo'shiq qobiliyatini ko'rsatadigan yozuvlar kam.^[49] DeMilning 1908 yil 5-noyabrda Tsesiliya ismli qizi bor edi, u uning yagona biologik farzandi bo'ladi.^[49] 1910-yillarda DeMille boshqa yozuvchi pyesalarini rejissyorlik va ishlab chiqarishni boshladi.^[50]

DeMille kambag'al edi va ish topishga qiynaldi. Binobarin, onasi uni DeMille Play Company agentligiga ishga yollagan va unga qanday qilib agent va dramaturg bo'lishni o'rgatgan. Oxir-oqibat, u agentlikning menejeri va keyinchalik onasi bilan kichik sherik bo'ldi.^[51] 1911 yilda DeMille vedevil prodyuseri Jessi Laski bilan Laski o'zining yangi musiqiy asariga yozuvchi izlayotgan paytda tanishgan. Dastlab u Uilyam deMilni qidirib topdi. Uilyam muvaffaqiyatli dramaturg edi, ammo DeMille o'yinlarining muvaffaqiyatsizligidan aziyat chekardi Qirollik o'rnatilgan va Dahiy. Biroq, Beatrice o'rniga LasMeni DeMille bilan tanishtirdi.^[52] DeMille va Lasky hamkorligida muvaffaqiyatli musiqiy asar yaratildi Kaliforniya 1912 yil yanvar oyida Nyu-Yorkda ochilgan.^[53] 1912 yil yanvar oyida ochilgan yana bir DeMille-Lasky ishlab chiqarishi bo'ldi Qadimgi qiz.^[54] DeMille 1913 yil bahorida muvaffaqiyat qozondi Diqqatsiz yosh Li Uilson tomonidan, yuqori darajadagi jamiyat qizi haqidagi qasddan odam o'ldirishda ayblanganlikda ayblangan Frederik Berton va Sidney Shilds.^[55][56] Biroq, teatrdagi o'zgarishlar DeMilleni ko'rsatdi melodramalar Ular ishlab chiqarilishidan oldin eskirgan va haqiqiy teatr muvaffaqiyati uni chetlab o'tdi. U ko'plab floplarni ishlab chiqardi.^[57] Teatrda ishlashga befarq bo'lib, DeMillning 1912 yilgi frantsuz filmini tomosha qilganida filmga bo'lgan ishtiyoqi alangalandi. Les Amours de la reine Élisabeth.^[58]

1913–1914: Filmlarga kirish

Media-ni ijro etish

Squaw Man (1914) to'liq film

Sahnani o'zgartirishni xohlagan Sesil B. DeMil, Xese Lassi, Sem Goldfish (keyinchalik) Semyuel Goldvin ) va Sharqiy sohilning bir guruh ishbilarmonlari yaratgan Jesse L. Lasky Feature Play kompaniyasi 1913 yilda DeMille bosh direktorga aylandi.^[59] Laski va DeMille restoran menyusining orqasida kompaniyaning tashkil etilishini eskizlar bilan tuzishgani aytilgan.^[60] Bosh rejissyor sifatida DeMilning vazifasi filmlarni suratga olish edi.^[60] Rejissyorlikdan tashqari DeMille "Lasky Feature Play" kompaniyasi tomonidan suratga olingan filmlarning birinchi yili uchun nazoratchi va maslahatchi bo'lgan.^[61] Ba'zan u filmlarni o'z vaqtida chiqarish uchun "Feature Play" kompaniyasida boshqa rejissyorlar uchun sahnalarni suratga olgan.^[61] Bundan tashqari, u boshqa filmlarni suratga olish bilan band bo'lganida, u "Lasky Company" ning boshqa ssenariylariga hammualliflik qiladi va boshqalar rejissyorlik qilgan ekran moslamalarini yaratadi.^[61]

Lasky Play kompaniyasi kompaniyaga qo'shilish uchun Uilyam DeMilni qidirib topdi, ammo u bu taklifni rad etdi, chunki u kino karerasida va'da borligiga ishonmadi.^[62] Uilyam DeMil kinematografiyada ishlay boshlaganini bilgach, DeMillega "teatrning eng yaxshi an'analarida tug'ilib o'sganida" "o'z kelajagini tashlashga" tayyorligidan xafa bo'lib, xat yozdi. .^[63] Lasky kompaniyasi yuqori darajadagi tomoshabinlarni o'z filmlariga jalb qilmoqchi edi, shuning uchun ular adabiy asarlardan filmlar ishlab chiqarishni boshladilar.^[64] "Lasky Company" spektaklga bo'lgan huquqni sotib oldi Squaw Man tomonidan Edvin Milton Royl va aktyorlar Dastin Farnum bosh rolda.^[62] Ular Farnumga kompaniyada chorak aksiyalarga ega bo'lishni taklif qildilar (Uilyam deMilga o'xshash) yoki ish haqi sifatida haftasiga 250 dollar. Farnum haftasiga 250 dollar tanladi.^[65] Ssenariysi uchun Roylga allaqachon 15000 dollar qarz Squaw Man, Lasky kompaniyasini bankrotlikdan qutqarish uchun Laskining qarindoshlari 5000 AQSh dollarini sotib olishdi.^[66] Filmni suratga olish haqida hech qanday ma'lumotga ega bo'lmagan DeMille kinostudiyalardagi jarayonni kuzatish uchun tanishtirildi. Oxir-oqibat u bilan tanishishdi Oskar Apfel, sahna rejissyori kinorejissyorga aylandi.^[67]

1913 yil 12-dekabrda DeMille, uning tarkibi va ekipaji Tinch okeanining janubiy poyezdiga yo'l oldi Flagstaff orqali Yangi Orlean. Uning taxminiy rejasi film suratga olish edi Arizona, lekin u Arizona ular izlayotgan G'arb qiyofasini tipografiya qilmaganligini his qildi. Shuningdek, ular boshqa kinorejissyorlar Los-Anjelesda, hatto qishda ham muvaffaqiyatli suratga olishayotganini bilishdi.^[68] U Los-Anjelesda davom etdi. U erda bo'lganida, u ichkariga kirmaslikni tanladi Edendeyl, ko'plab studiyalar bo'lgan joyda, lekin Gollivudda.^[69] DeMille o'zlarining kinostudiyasi sifatida ishlash uchun omborni ijaraga oldi.^[70] Filmni suratga olish 1913 yil 29 dekabrda boshlangan va uch hafta davom etgan.^[71] Apfel aksariyat filmlarni suratga oldi Squaw Man DeMillening tajribasizligi tufayli; ammo, DeMille tezda o'rganib chiqdi va kerak bo'lganda tezkor ssenariy yozishni yaxshi bilardi.^[72] U o'zining birinchi filmini oltmish daqiqada, qisqa spektaklda ishlagan. Squaw Man Oskar Apfel tomonidan birgalikda suratga olingan (1914) shov-shuvga sabab bo'ldi va u "Lasky Company" ni yaratdi. Bu Gollivudda yaratilgan birinchi metrajli film edi.^[73] Muammolar yuz berdi; ammo, film zaxiralarining teshilishi bilan va DeMille arzon ingliz kinoproektorini olib kelganligi aniqlandi. Keyinchalik DeMille sanoat standartidagi oltmish to'rt o'rniga bir oyog'iga oltmish beshta teshik ochishga amin bo'lishi kerak edi.^[74] Bu, shuningdek, Amerikadagi birinchi badiiy film edi; ammo, faqat chiqish sanasiga qadar D. V. Griffit "s Betuliya shahridagi Judit dan oldinroq suratga olingan Squaw Man, lekin keyinroq chiqarilgan.^[75] Bundan tashqari, bu DeMille Oskar C. Apfel bilan rejissyorlik kreditini baham ko'rgan yagona film edi.^[61]

Squaw Man muvaffaqiyatga erishdi, natijada Paramount Pictures va Gollivudning "dunyoning kino poytaxti" bo'lishiga asos bo'ldi.^[76][77] 1914 yil fevral oyida Nyu-Yorkdagi premyerasidan keyin film o'zining byudjetidan o'n baravar ko'proq pul ishladi.^[72] DeMille-ning navbatdagi loyihasi Oskar Apfel va rejissyorlikka yordam berish edi Brewsterning millionlari, bu juda muvaffaqiyatli edi.^[78] 1914 yil dekabrda Konstans Adams uyga o'n besh oylik Jon DeMilni olib keldi, uni uch yil o'tgach, er-xotin qonuniy ravishda asrab oldi. Biograf Skott Eyman, bu Adamsning yaqinda tushganligi oqibatida bo'lishi mumkin deb taxmin qildi.^{[79][3-eslatma]}

1915–1928: jim davr

G'arbliklar, jannat va Birinchi jahon urushi

Mashhur pleyerlar-Laski korporatsiyasi, DeMille o'tirgan, o'ng tomonda ikkinchi

Sesil B. DeMilning ikkinchi filmi faqat unga tegishli bo'lgan Virjiniyalik. Bu DeMille-ning sifatli va rangli video formatdagi filmlarining eng qadimgi filmi. Biroq, ushbu versiya aslida 1918 yilgi qayta chiqarilishdir.^[80] "Laski" kompaniyasining dastlabki bir necha yillari tinimsiz filmlar suratga olishga sarflanib, tom ma'noda film tilini yozishgan. DeMilning o'zi 1915 yilga qadar yigirma filmni boshqargan.^[81] Lasky kompaniyasining boshlanishi davomida eng muvaffaqiyatli filmlar bo'lgan Brewsterning millionlari (birgalikda rejissyor DeMille), Rancho gulasi va Arvohni buzuvchi.^[72] DeMille Belaskoning dramatik yoritish usullarini kino texnologiyasiga moslashtirdi va oy nurini taqlid qilib AQSh kinoteatrining "motivatsion yoritish" ga birinchi urinishlari bilan taqlid qildi. Virjiniya shtatidagi Uorrens.^[27] Bu uning ukasi Uilyam bilan bir nechta film hamkorliklarining birinchisi edi. Ular spektaklni sahnadan tortib to sahnaga moslashtirish uchun kurashdilar. Film namoyish etilgandan so'ng, tomoshabinlar soyalar va yorug'lik tomoshabinlarning aktyorlarning yuzlarini ko'rishga to'sqinlik qilayotganidan shikoyat qilishdi, ular faqat yarim narxini to'lashlaridan shikoyat qilishdi. Biroq, Sem Goldvin shuni angladiki, agar ular uni "Rembrandt" yoritgichi deb atashsa, tomoshabin ikki baravar narxni to'laydi.^[82] Bundan tashqari, DeMille-ning samimiyligi tufayli Piter Grimm Hodisa tufayli DeMille Belasco bilan hamkorligini qayta tiklay oldi. U Belaskoning bir nechta ssenariylarini filmga moslashtirdi.^[83]

DeMillening eng muvaffaqiyatli filmi bo'ldi Cheat; DeMilening filmdagi rejissyori olqishlandi.^[84] 1916 yilda, DeMille uch yillik tinimsiz rejissyorlikdan charchab, filmlarni sotib oldi Anjeles milliy o'rmoni uning qochishiga aylanadigan rancho uchun. U bu joyni "jannat" deb atab, uni yovvoyi tabiat qo'riqxonasi deb e'lon qildi; ilonlardan tashqari hayvonlarni otishga yo'l qo'yilmagan. Uning xotini jannatni yoqtirmasdi, shuning uchun DeMille tez-tez u erga metresslarini, shu qatorda aktrisani ham olib kelgan Julia Faye.^[85][86] Jannatidan tashqari, DeMille 1921 yilda o'zi chaqirgan yaxtani sotib oldi Dengiz dengizi.^[4-eslatma]

Filmni suratga olish paytida Asir 1915 yilda qo'shimcha ravishda Bob Fleming, qo'shimcha mashg'ulot uchun barcha qurollarni tushirish uchun DeMillning buyrug'iga quloq solmay, maydonda vafot etdi. DeMille aybdor kishiga shaharni tark etishni buyurdi va hech qachon ismini oshkor etmaydi. Laski va DeMille ish haqi bo'yicha beva ayol Flemingni saqlab qolishdi; ammo, etakchi aktyorning so'zlariga ko'ra House Peters Sr. DeMille Fleming dafn marosimi uchun ishlab chiqarishni to'xtatishni rad etdi. Pitersning ta'kidlashicha, u aktyorlar tarkibini baribir u bilan birga dafn marosimida qatnashishga da'vat etgan, chunki DeMille u holda filmni suratga ololmaydi.^[88] 1916 yil 19-iyulda Jessi Lasky Feature Play kompaniyasi Adolf Zukornikiga qo'shildi Mashhur pleyerlar film kompaniyasi, bo'lish Mashhur o'yinchilar-Laski. Zukor vitse-prezident sifatida Laski bilan prezident bo'ldi.^[89] DeMille bosh direktor lavozimida qoldi va Goldvin kengash raisi bo'ldi.^[84] Keyinchalik Goldvin "Mashhur o'yinchilar-Laski" dan Laski, DeMille va nihoyat Zukor bilan tez-tez to'qnashuvlar tufayli ishdan bo'shatilgan.^[84] 1921 yilda Evropada ta'til paytida DeMille Parijda revmatik isitma bilan kasallangan. U karavotda yotib, ovqat yeyishga qodir emas edi. Uyga qaytgandan keyin uning yomon jismoniy holati 1922 yilgi filmning suratga olinishiga ta'sir qildi Qotillik. Richard Birchardning so'zlariga ko'ra, DeMillning prodyuserlik holatidagi zaiflashishi filmni o'ziga xos bo'lmagan sifatsiz deb qabul qilinishiga olib kelgan bo'lishi mumkin.^[90]

Birinchi jahon urushi paytida Mashhur Aktyorlar-Laski Milliy Gvardiya ostida harbiy kompaniya tashkil etishdi Uy qo'riqchisi sardor sifatida DeMille bo'lgan kinostudiya xodimlaridan tashkil topgan. Oxir-oqibat Gvardiya batalonga ko'tarilib, boshqa kinostudiyalarning askarlarini jalb qildi. Ular har hafta film ishlab chiqarishdan harbiy mashg'ulotlar o'tkazish uchun ta'tilga chiqdilar. Bundan tashqari, urush paytida DeMille Adliya vazirligining razvedka xizmatiga ixtiyoriy ravishda qo'shildi, u taniqli o'yinchilar-Laski bilan aloqada bo'lgan do'stlari, qo'shnilari va boshqalarni tergov qildi. U Ikkinchi Jahon urushi paytida ham razvedka idorasida ishlagan.^[91] DeMille Birinchi Jahon urushiga qo'shilishni o'ylagan bo'lsa-da, u Qo'shma Shtatlarda qoldi va filmlar suratga oldi. Biroq, u bir necha oy davomida Frantsiya fronti uchun kinoteatr tashkil qildi. Mashhur Aktyorlar-Laski filmlarni xayriya qildilar.^[92] DeMille va Adams asrab olindi Ketrin Lester 1920 yilda Adams o'zi direktor bo'lgan bolalar uyida topdi.^{[93] [5-eslatma]} 1922 yilda er-xotin Richard deMilni qabul qildi.^{[36][6-eslatma]}

Janjalli dramalar, Injilga oid eposlar va Paramountdan ketish

Film yanada murakkablasha boshladi va Lasky kompaniyasining keyingi filmlari ibtidoiy va haqiqiy bo'lmagan to'plam uchun tanqid qilindi.^[100] Binobarin, Beatrice deMille Mashhur Aktyorlar-Laskini tanishtirdi Uilfred Baklend DeMille Amerika Dramatik San'at Akademiyasida ishlagan davridan beri kimni tanigan va u DeMillning badiiy rahbari bo'lgan. Uilyam deMil istaksiz ravishda hikoya muharriri bo'ldi. Keyinchalik Uilyam deMil teatrdan Gollivudga aylanadi va butun faoliyatini kinorejissyor sifatida o'tkazadi.^[84] Faoliyati davomida DeMille o'zining filmlarini tez-tez qayta tiklaydi. Uning birinchi instansiyasida, 1917 yilda u qayta ishladi Squaw Man (1918), faqat 1914 yilgi asl nusxadan to'rt yil kutgan. Tez o'zgarishiga qaramay, film juda muvaffaqiyatli bo'ldi. Biroq, DeMille-ning ikkinchi remeyki MGM 1931 yilda muvaffaqiyatsiz bo'ladi.^[101]

Besh yil o'ttizta mashhur filmlardan so'ng DeMille Amerika kino sanoatining eng muvaffaqiyatli rejissyori bo'ldi. Jim davrda u mashhur edi Erkak va ayol (1919), Qotillik (1922), Volga qayiqchisi (1926) va Xudosiz qiz (1928). DeMille savdo markasi vannalari, sherlarning hujumlari va Rim orgiyalarini o'z ichiga olgan.^[102] Uning ko'plab filmlarida ikki rangli sahnalar namoyish etilgan Texnik rang. 1923 yilda DeMille zamonaviy melodramasini chiqardi O'n amr bu avvalgi dinsiz filmlardan sezilarli o'zgarish bo'ldi. Film Paramount-dagi eng qimmat prodyuser 600 ming dollarlik katta byudjet asosida ishlab chiqarilgan. Bu Paramount kompaniyasining rahbarlariga tegishli edi; ammo, film studiyaning eng ko'p daromad keltirgan filmi bo'lib chiqdi.^[103] Bu Paramount rekordini yigirma besh yil davomida DeMille yana o'zi yangilamaguncha ushlab turdi.^[104]

Reklama (1919)

1920-yillarning boshlarida janjal Paramountni o'rab oldi. Paramount-ning bir nechta kontraktlari zo'rlash, qotillik va giyohvandlikda ayblangan. Diniy guruhlarning noroziligi kuchaygan va ommaviy axborot vositalari ekrandagi va ekrandagi kino sanoatidagi axloqsizlikdan dahshatga tushgan. Deb nomlangan tsenzura kengashi Hays kodeksi tashkil etildi. DeMille ekrandagi axloqsizlikni aks ettirishi, ehtimol janjalli film tufayli tanqidga uchradi Anatol ishlari. Bundan tashqari, DeMille Zukor bilan uning ortiqcha va byudjetdan ortiq ishlab chiqarish xarajatlari to'g'risida bahslashdi.^[105] Binobarin, DeMille Paramountni 1924 yilda tashkil etishga yordam berganiga qaramay tark etdi. Buning o'rniga u qo'shildi Ishlab chiqaruvchilarning tarqatish korporatsiyasi.^[106]Uning "DeMille Pictures Corporation" yangi prodyuserlik kompaniyasidan birinchi filmi bo'ldi Kechagi yo'l 1925 yilda. U o'zining o'zi to'rtta filmni suratga oldi va prodyuserlik qildi, prodyuserlar distribyutorlik korporatsiyasi bilan hamkorlik qildi, chunki u old ofis nazorati juda cheklangan.^[107] Chetga Shohlar qiroli (DeMille-ning eng sevimli filmi deb aytilgan), DeMille-ning Paramount-dan uzoqda bo'lgan hech bir filmi muvaffaqiyatli chiqmadi.^[108] Shohlar qirollari DeMille-ni "ulug'vorlik va bibliyadagi sagaslarning ustasi" sifatida tashkil etdi.^[109] Jim davrning eng muvaffaqiyatli nasroniy filmi. DeMille film dunyo bo'ylab 800 million martadan ko'proq tomosha qilingan deb hisoblagan.^[110] DeMille-ning chiqarilishidan keyin Xudosiz qiz, Amerikadagi jim filmlar eskirdi va DeMille yangi ovoz chiqarish texnikasi bilan juda yaxshi yakuniy g'altakni suratga olishga majbur bo'ldi. Ushbu so'nggi g'altakning ko'rinishi avvalgi o'n bir g'altakdan shunchalik farq qiladiki, u boshqa filmga o'xshaydi, ammo Simon Luvishning so'zlariga ko'ra, film DeMillening eng g'alati va eng "DeMillean" filmlaridan biridir.^[111]

DeMille-ning jim filmlarining ulkan mashhurligi uning boshqa sohalarda tarqalishiga imkon berdi. The Yigirmanchi yillarning shovqini Rivojlanish yillari edi va DeMille to'liq imkoniyatlardan foydalanib, Amerikaning birinchi tijorat aviakompaniyalaridan biri bo'lgan Merkuriy Aviatsiya kompaniyasini ochdi.^[112] U shuningdek ko'chmas mulk chayqovchisi bo'lgan,^[113] siyosiy kampaniyalarning anderrayteri va vitse-prezidenti Amerika banki.^[114] U qo'shimcha ravishda Los-Anjelesdagi Tijorat Milliy Trast va Jamg'arma Bankining vitse-prezidenti bo'lib, u erda boshqa kino ijodkorlari uchun kreditlarni tasdiqlagan.^[115] 1916 yilda DeMille Gollivuddan qasr sotib oldi. Charli Chaplin bir muncha vaqt qo'shni yashagan va u ko'chib ketganidan keyin DeMille boshqa uyni sotib olib, mulklarni birlashtirgan.^[116]

1929–1956: Ovoz davri

MGM va Paramount-ga qayting

1928 yilda "gaplashadigan rasmlar" ixtiro qilinganida, Sesil B. DeMil muvaffaqiyatli o'tishni amalga oshirdi va og'riqli jarayonga o'z yangiliklarini taklif qildi; u mikrofon bumini va ovoz o'tkazmaydigan narsalarni ishlab chiqardi kamera blimp.^[117] Shuningdek, u kamera kranini ommalashtirdi.^[118] Uning dastlabki uchta ovozli filmi Metro-Goldvin-Mayerda ishlab chiqarilgan.^[119] Ushbu uchta film, Dinamit, Madam Shayton va uning 1931 yilgi qayta tuzilishi Squaw Man ham tanqidiy, ham moliyaviy jihatdan muvaffaqiyatsiz bo'lgan. U filmning sust suhbatlariga qaramay, u ovozli filmlar ishlab chiqarishga to'liq moslashgan edi.^[120] Uning shartnomasi MGMda tugagandan so'ng, u tark etdi, ammo hech bir prodyuserlik studiyasi uni yollamaydi. U xuddi shu ijodiy istaklarga ega rejissyorlar gildiyasi deb nomlangan yarim o'nlab rejissyorlardan iborat gildiya tuzishga urindi. Biroq, mablag 'etishmasligi va majburiyat tufayli g'oya muvaffaqiyatsiz tugadi. Bundan tashqari, DeMille tomonidan tekshirilgan Ichki daromad xizmati uning ishlab chiqarish kompaniyasi bilan bog'liq muammolar tufayli. Bu, DeMilga ko'ra, faoliyatidagi eng past ko'rsatkich edi. DeMille, Paramountda shartnoma taklif qilinmaguncha, ish topish uchun chet elga sayohat qildi.^[121]

1932 yilda DeMille Laskining iltimosiga binoan Paramountga qaytib keldi va o'zi bilan o'zining ishlab chiqarish qismini olib keldi.^[122] Paramount-dagi birinchi filmi, Xoch belgisi, shuningdek, Paramountni tark etgandan keyingi birinchi muvaffaqiyati edi Shohlar qiroli. DeMille-ning qaytishini Zukor DeMille-ning ishlab chiqarish byudjetidan 650 000 AQSh dollaridan oshmasligi sharti bilan ma'qulladi. Xoch belgisi. Sakkiz hafta ichida byudjetdan oshmasdan ishlab chiqarilgan film moliyaviy jihatdan muvaffaqiyatli bo'ldi.^[123] Xoch belgisi barcha kinematik texnikalarni birlashtirgan birinchi film edi. Film "shoh asar" deb hisoblangan va o'sha paytdagi boshqa ovozli filmlarning sifatidan ustun bo'lgan.^[124] DeMille ushbu epikani 1933 va 1934 yillarda chiqarilgan ikkita dramasi bilan o'ziga xos bo'lmagan holda kuzatib bordi. Bu kun va yosh va To'rt kishi qo'rqib ketdi Kassaning umidsizliklari edi To'rt kishi qo'rqib ketdi yaxshi baholashlar oldi. DeMille butun faoliyati davomida o'zining katta byudjetli ajoyib narsalariga sodiq qoladi.^[125]

Siyosat va lyuks radio teatri

DeMille Lyuks radio teatri prodyuseri sifatida, CBS telekanalida efirga uzatilgan, 1937 yil

Sesil B. DeMil konservator edi Respublika faol. U "Kaliforniyaning siyosiy o'ng qanot ustuniga" aylanmaguncha, u yoshi kattaroq konservativ bo'lib qoldi.^[126] Biroq, u ikki xil hayot kechirdi. Bir tomondan, DeMille rafiqasi va bolalari orqali misol keltirilgan kuchli xristian axloqi bilan yashagan. Boshqa tomondan, DeMilning shaxsiy hayoti, metresslar va zinoni o'z ichiga olgan, u tasvirlagan episkopal yaxlitligi bilan ziddiyatli edi.^[127] Bundan tashqari, u tez-tez o'zining qat'iy konservativ nuqtai nazariga zid edi. Uning filmi Volga qayiqchisi rus inqilobini xushyoqish bilan tasvirlab berdi va u 1930-yillarda Sovet Ittifoqiga qilgan sayohati bilan hayratga tushdi.^[127] O'zining konservativ qarashlariga ko'proq mos ravishda u anti-ittifoq sifatida tanilgan va film ishlab chiqarish studiyalarining birlashishini oldini olish uchun ishlagan.^[128] Biroq, DeMilning so'zlariga ko'ra, u uyushmaga qarshi bo'lmagan va bir nechta kasaba uyushmalariga tegishli bo'lgan. Kabi kasaba uyushma rahbarlariga qarshi bo'lganini aytdi Uolter Reuter va Garri ko'priklari u diktatorlar bilan taqqoslaganda.^[129] U qo'llab-quvvatladi Gerbert Guver va 1928 yilda o'zining eng katta kampaniyasida Xoverga xayriya qildi.^[130] Biroq, qarama-qarshilikda DeMille Franklin D. Ruzveltni yoqtirib, uni xarizmatik, qat'iyatli va aqlli deb topdi. U Ruzveltning taqiqdan nafratlanishiga qo'shildi. DeMille Ruzveltga o'zining kampaniyasi uchun avtomobil bergan 1932 yil AQSh prezident saylovi va unga ovoz berdi. Biroq, u boshqa hech qachon prezidentlik saylovlarida demokrat nomzodga ovoz bermaydi.^[130]

1936 yil 1 iyundan 1945 yil 22 yanvargacha Sesil B. DeMil boshlovchilik qildi va boshqardi Lyuks radio teatri, hozirgi badiiy filmlarning haftalik dayjesti.^[131] Teleradiokompaniyasi Columbia Broadcasting System (CBS) 1935 yildan 1954 yilgacha,^[132] Lux Radio shousi radio tarixidagi eng mashhur haftalik shoulardan biri edi.^[131] DeMille boshlovchisi bo'lganida, shou haftalik qirq million tinglovchiga ega bo'lib, DeMille-ning yillik maoshi 100000 dollarni tashkil qildi.^[131] 1936 yildan 1945 yilgacha u vaqti-vaqti bilan mehmon rejissyorni hisobga olmaganda, barcha ko'rsatuvlarni tayyorlagan, olib borgan va boshqargan.^[131] U Lux Radio Show-dan iste'foga chiqdi, chunki u Amerika Radio Rassomlari Federatsiyasiga (AFRA) bir dollar to'lashdan bosh tortdi, chunki u biron bir tashkilot "har qanday a'zodan majburiy baho undirish" huquqiga ega ekanligiga ishonmadi.^[133] Binobarin, u radio shousidan iste'foga chiqishi kerak edi.^[133]

DeMille kasaba uyushmasini qayta tiklash uchun sudga berdi, ammo yutqazdi. Keyin u Kaliforniya Oliy sudiga murojaat qildi va yana yutqazdi. AFRA televideniyega kengayganida, DeMille televizion chiqishlarini taqiqladi. Binobarin, u mehnat huquqi uchun kampaniya olib borish uchun DeMille siyosiy erkinlik jamg'armasini tuzdi.^[134] U kelgusi bir necha yil davomida Amerika Qo'shma Shtatlari bo'ylab ma'ruzalarini boshladi. DeMillning asosiy tanqidlari quyidagilar edi yopiq do'konlar, lekin keyinchalik kommunizm va umuman kasaba uyushmalarini tanqid qilish kiradi. Amerika Qo'shma Shtatlari Oliy sudi uning ishini ko'rib chiqishni rad etdi. Yo'qotilganiga qaramay, DeMille lobbichilikni davom ettirdi Taft - Xartli qonuni, o'tgan. Bu, siyosiy baho berishdan bosh tortgan taqdirda, biron bir kishining ishlash huquqidan mahrum qilishni taqiqladi, ammo qonun orqaga qarab qo'llanilmadi. Binobarin, DeMille-ning televizion va radioeshittirishni taqiqlash umrining oxirigacha davom etdi, ammo unga film yoki filmni reklama qilish uchun radio yoki televidenieda chiqish huquqi berildi.^[135] Uilyam Keighli uning o'rnini egalladi.^[133] DeMille boshqa hech qachon radioda ishlamaydi.^{[133] [7-eslatma]}

Sarguzasht filmlari va dramatik tomoshalar

1939 yilda DeMille Birlik Tinch okeani bilan hamkorlik qilgan DeMille tomonidan muvaffaqiyatli bo'ldi Tinch okeani temir yo'llari. Tinch okeani Ittifoqi DeMille-ga tarixiy ma'lumotlarga, dastlabki davr poezdlariga va ekspert guruhlariga kirish huquqini berdi va bu filmning haqiqiyligini oshirdi.^[137] Oldindan ishlab chiqarish paytida Birlik Tinch okeani, DeMille o'zining birinchi jiddiy sog'liq muammosi bilan shug'ullangan. 1938 yil mart oyida u katta favqulodda vaziyatni boshdan kechirdi prostatektomiya. U jarrohlik amaliyotidan keyingi infektsiyani boshdan kechirgan, u deyarli tuzalmagan streptomitsin Uning qutqaruvchi inoyati sifatida. Ba'zi oila a'zolarining fikriga ko'ra, operatsiya uning butun hayoti davomida jinsiy funktsiya buzilishidan aziyat chekishiga olib keldi.^[138] Uning jarrohlik amaliyoti va muvaffaqiyati Birlik Tinch okeani, 1940 yilda DeMille birinchi marta uchta polosali Technicolor-ni ishlatgan Shimoliy G'arbiy Politsiya. DeMille filmga tushmoqchi edi Kanada; ammo, byudjet cheklovlari tufayli film o'rniga suratga olingan Oregon va Gollivud.^[139] Tanqidchilar vizual ko'rinishga qoyil qolishdi, ammo ssenariylarni zerikarli deb topdilar va uni DeMille-ning "eng qashshoq g'arbiy" deb atashdi.^[139] Tanqidlarga qaramay, bu Paramountning yilning eng ko'p daromad keltirgan filmi bo'ldi.^[139] Uning to'yingan rangi tomoshabinlarga yoqdi, shuning uchun DeMille boshqa oq-qora xususiyatlarni yaratmadi.^[140] DeMille antikommunist edi va 1940 yilda Ernest Xemingueyning filmini suratga olish loyihasidan voz kechdi Qo'ng'iroq kim uchun Kommunistik mavzular tufayli, u romanga bo'lgan huquqlari uchun 100 ming dollar to'laganiga qaramay. U filmni suratga olish uchun shunchalik jonkuyar ediki, romanni hali o'qimagan edi. U boshqa loyihani amalga oshirish uchun loyihani tark etganini da'vo qildi, ammo aslida bu o'z obro'sini saqlab qolish va reaktsion ko'rinishdan qochish edi.^{[141][8-eslatma]} Bir vaqtning o'zida filmni suratga olayotganda, u oltmish yoshida Ikkinchi Jahon urushida o'zining mahallasida havo hujumlarini boshqaruvchisi sifatida xizmat qilgan.^[142]

1942 yilda DeMille ishlagan Jeanie MacPherson va birodar Uilyam deMille deb nomlangan filmni yaratish uchun Qirolicha malikasi haqida bo'lishi kerak edi Maryam, Isoning onasi. Ssenariyni o'qib bo'lgach, Daniel A. Lord katilliklar filmni juda beparvo deb bilishadi, katolik bo'lmaganlar esa katoliklarning tashviqoti deb hisoblashgan deb DeMilni ogohlantirdi. Binobarin, film hech qachon suratga olinmagan.^[143] Jeanie MacPherson DeMillening ko'plab filmlarida ssenariy muallifi sifatida ishlaydi.^{[144] [9-eslatma]} 1938 yilda DeMille filmlar to'plamini boshqargan Ozodlik mamlakati uchun Amerika kino sanoatining hissasini namoyish etish 1939 yil Nyu-Yorkdagi Butunjahon ko'rgazmasi. DeMille o'zining filmlaridan kliplardan foydalangan Ozodlik mamlakati. Film ko'p daromad keltirmagan bo'lsa-da, u juda yaxshi qabul qilindi va DeMille-dan kuniga ko'proq namoyish qilish uchun ish vaqtini qisqartirishni so'rashdi. MGM filmni 1941 yilda tarqatgan va o'z foydasini Ikkinchi Jahon urushidagi xayriya tashkilotlariga xayriya qilgan.^[145]

DeMille uchun treylerda Erdagi eng buyuk shou (1952), u g'olib chiqqan film "Eng yaxshi film" uchun Oskar mukofoti

In 1942, DeMille released Paramount's most successful film, Yovvoyi Shamolni o'rab oling. It was produced with a large budget and contained many special effects including an electronically operated ulkan kalmar.^[146] Ishlagandan so'ng Yovvoyi Shamolni o'rab oling, yilda 1944, u edi marosimlar ustasi at the massive rally organized by Devid O. Selznik ichida Los-Anjelesdagi Kolizey ni qo'llab-quvvatlash uchun Devi –Bricker shuningdek chipta Hokim Graf Uorren Kaliforniya shtati.^{[147][10-eslatma]} DeMille's subsequent film Fath qilinmagan (1947) had the longest running time (146 minutes), longest filming schedule (102 days) and largest budget of $5 million. The sets and effects were so realistic that 30 extras needed to be hospitalized due to a scene with fireballs and flaming arrows. It was commercially very successful.^[148]

DeMille's next film, Shimshon va Dalila in 1949, became Paramount's highest-grossing film up to that time. A Biblical epic with sex, it was a characteristically DeMille film.^[149] Again, 1952's Erdagi eng buyuk shou became Paramount's highest-grossing film to that point. Furthermore, DeMille's film won the Academy Award for Best Picture and the "Eng yaxshi hikoya" uchun Oskar mukofoti. The film began production in 1949, Ringling Brothers-Barnum and Bailey were paid $250,000 for use of the title and facilities. DeMille toured with the circus while helping write the script. Noisy and bright, it was not well-liked by critics, but was a favorite among audiences.^[150][151] DeMille signed a contract with Prentice Hall publishers in August 1953 to publish an autobiography.^[152] DeMille would reminisce into a voice recorder, the recording would be transcribed, and the information would be organized in the biography based on the topic.^[153] Art Arthur also interviewed people for the autobiography. DeMille did not like the first draft of the biography, saying that he thought the person portrayed in the biography was an "SOB"; he said it made him sound too egotistical.^[154] Besides filmmaking and finishing his autobiography, DeMille was involved in other projects. In the early 1950s, DeMille was recruited by Allen Dulles va Frank Visner to serve on the board of the antikommunist Erkin Evropa milliy qo'mitasi, the public face of the organization that oversaw the Ozod Evropa radiosi xizmat.^[155] In 1954, Secretary of the Air Force Xarold E. Talbott asked DeMille for help in designing the cadet uniforms at the newly established Amerika Qo'shma Shtatlari havo kuchlari akademiyasi. DeMille's designs, most notably his design of the distinctive cadet parade uniform, won praise from Air Force and Academy leadership, were ultimately adopted, and are still worn by cadets.^[156]

Final works and unrealized projects

In 1952, DeMille sought approval for a lavish remake of his 1923 silent film O'n amr. He went before the Paramount board of directors, which was mostly Jewish-American. The members rejected his proposal, even though his last two films, Shimshon va Dalila va Erdagi eng buyuk shou, had been record-breaking hits.^[158] Adolph Zukor convinced the board to change their minds on the grounds of morality.^[157] DeMille did not have an exact budget proposal for the project,^[159] and it promised to be the most costly in U.S. film history. Still, the members unanimously approved it.^[160] O'n amr, released in 1956, was DeMille's final film. It was the longest (3 hours, 39 minutes) and most expensive ($13 million) film in Paramount history.^[161] Ishlab chiqarish O'n amr began in October 1954.^[161] The Exodus scene was filmed on-site in Egypt with the use of four Technicolor-VistaVision camera filming 12,000 people. They continued filming in 1955 in Paris and Hollywood on 30 different sound stages. They were even required to expand to RKO sound studios for filming.^[162] Post-production lasted a year and the film premiered in Solt Leyk-Siti.^[163] Nominated for an Academy Award for Best Picture, it grossed over $80 million, which surpassed the gross of Erdagi eng buyuk shou and every other film in history, except for Shamol bilan ketdim.^[161] A unique practice at the time, DeMille offered ten percent of his profit to the crew.^[164]

On November 7, 1954, while in Egypt filming the Chiqish uchun ketma-ketlik O'n amr, DeMille (who was seventy-three) climbed a 107-foot (33 m) ladder to the top of the massive Per Rameses set and suffered a serious heart attack. Despite the urging of his associate producer, DeMille wanted to return to the set right away. DeMille developed a plan with his doctor to allow him to continue directing while reducing his physical stress.^[165] Although DeMille completed the film, his health was diminished by several more heart attacks. His daughter Cecilia took over as director as DeMille sat behind the camera with Sodiq Griggs operator sifatida.^[166] This film would be his last.^{[167] [11-eslatma]}

Due to his frequent heart attacks, DeMille asked his son-in-law, actor Entoni Kvinn, to direct a remake of his 1938 film Qaroqchi. DeMille served as executive producer, overseeing producer Genri Uilkokson.^[169] Despite a cast led by Charlton Xeston va Yul Brynner, the 1958 film Qaroqchi umidsizlik edi.^[170] DeMille attended the Santa Barbara premiere of Qaroqchi 1958 yil dekabrda.^[169] DeMille was unable to attend the Los Angeles premiere of Qaroqchi.^[169] In the months before his death, DeMille was researching a film biography of Robert Baden-Pauell, asoschisi Skautlar harakati. - deb so'radi DeMille Devid Niven to star in the film, but it was never made. DeMille also was planning a film about the space race as well as another biblical epic about the Vahiy kitobi.^[171] DeMille's autobiography was mostly completed by the time DeMille died and was published in November 1959.^[172]

O'lim

DeMille's tomb at Hollywood Forever Cemetery

Cecil B. DeMille suffered a series of heart attacks from June 1958 to January 1959,^[169] and died on January 21, 1959, following an attack.^[173] DeMille's funeral was held on January 23 at St. Stephen's Episcopal Church. U otib tashlandi Gollivud yodgorlik qabristoni (now known as Hollywood Forever).^[174] After his death, notable news outlets such as The New York Times, Los Anjeles Taymsva Guardian honored DeMille as "pioneer of movies", "the greatest creator and showman of our industry", and "the founder of Hollywood".^[175] DeMille left his multi-million dollar estate in Los-Feliz, Los-Anjeles in Laughlin Park to his daughter Cecilia because his wife had dementia and was unable to care for an estate. She would die one year later.^[176][177] His personal will drew a line between Cecilia and his three adopted children, with Cecilia receiving a majority of DeMille's inheritance and estate. The other three children were surprised by this, as DeMille did not treat the children differently in life.^[178] Cecilia lived in the house for many years but auctioned the house in the late 1980s.^{[179][12-eslatma]}

Film yaratish

Ta'sir

DeMille believed his first influences to be his parents, Henry and Beatrice DeMille.^[180] His playwright father introduced him to the theater at a young age.^[181] Henry was heavily influenced by the work of Charlz Kingsli whose ideas trickled down to DeMille.^[182] DeMille noted that his mother had a "high sense of the dramatic" and was determined to continue the artistic legacy of her husband after he died. Beatrice became a play broker and author's agent, influencing DeMille's early life and career.^[183] DeMille's father worked with David Belasco theatrical producer, impresario, and playwright. Belasco was known for adding realistic elements in his plays such as real flowers, food, and aromas that could transport his audiences into the scenes.^[184] While working in theatre, DeMille used real fruit trees in his play Kaliforniya as influenced by Belasco.^[185] Similar to Belasco, DeMille's theatre was revolved around entertainment, rather than artistry.^[186] Generally, Belasco's influence of DeMille's career can be seen in DeMille's showmanship and narration.^[187] E.H. Sothern's early influence on DeMille's work can be seen in DeMille's perfectionism.^[188][189] DeMille recalled that one of the most influential plays he saw was Hamlet, directed by Sothern.^[190]

Usul

DeMille's filmmaking process always began with extensive research. Next, he would work with writers to develop the story that he was envisioning. Then, he would help writers construct a script. Finally, he would leave the script with artists and allow them to create artistic depictions and renderings of each scene.^[191] Plot and dialogue was not a strong point of DeMille's films. Consequently, he focused his efforts on his films' visuals. He worked with visual technicians, editors, art directors, costume designers, cinematographers, and set carpenters in order to perfect the visual aspects of his films. With his editor, Anne Bauchens, DeMille used editing techniques to allow the visual images to bring the plot to climax rather than dialogue.^[192] DeMille had large and frequent office conferences to discuss and examine all aspects of the working film including story-boards, props, and special effects.^[193]

DeMille rarely gave direction to actors; he preferred to "office-direct" where he would work with actors in his office, going over characters and reading through scripts. Any problems on the set were often fixed by writers in the office rather than on the set. DeMille did not believe a large movie set was the place to discuss minor character or line issues.^[194] DeMille was particularly adept at directing and managing large crowds in his films. Martin Skorseze recalled that DeMille had the skill to maintain control of not only the lead actors in a frame but the many extras in the frame as well.^[195] DeMille was adept at directing "thousands of extras",^[113] and many of his pictures include spectacular set pieces: the toppling of the butparast ma'bad Shimshon va Dalila;^[196] train wrecks in Kechagi yo'l,^[197] Birlik Tinch okeani^[198] va Erdagi eng buyuk shou;^[199] the destruction of an airship in Shayton xonim;^[200] and the parting of the Qizil dengiz ning ikkala versiyasida ham O'n amr.^[201]

DeMille's set pieces include this pagan temple in Shimshon va Dalila (1949)

DeMille experimented in his early films with photographic light and shade which created dramatic shadows instead of glare.^[84] His specific use of lighting, influenced by his mentor David Belasco, was for the purpose of creating "striking images" and heightening "dramatic situations".^[202] DeMille was unique in using this technique. In addition to his use of volatile and abrupt film editing, his lighting and composition were innovative for the time period as filmmakers were primarily concerned with a clear, realistic image.^[202] Another important aspect of DeMille's editing technique was to put the film away for a week or two after an initial edit in order to re-edit the picture with a fresh mind. This allowed for the rapid production of his films in the early years of the Lasky Company. The cuts were sometimes rough, but the movies were always interesting.^[203]

DeMille often edited in a manner that favored psychological space rather than physical space through his cuts. In this way, the characters' thoughts and desires are the visual focus rather than the circumstances regarding the physical scene.^[204] As DeMille's career progressed, he increasingly relied on artist Dan Sayre Groesbeck's concept, costume, and storyboard art. Groesbeck's art was circulated on set to give actors and crew members a better understanding of DeMille's vision. His art was even shown at Paramount meetings when pitching new films. DeMille adored the art of Groesbeck, even hanging it above his fireplace, but film staff found it difficult to convert his art into three-dimensional sets. As DeMille continued to rely on Groesbeck, the nervous energy of his early films transformed into more steady compositions of his later films. While visually appealing, this made the films appear more old-fashioned.^[205]

Bastakor Elmer Bernshteyn described DeMille as, "sparing no effort", when filmmaking.^[206] Bernstein recalled that DeMille would scream, yell, or flatter, whatever it took to achieve the perfection he required in his films. DeMille was painstakingly attentive to details on set and was as critical of himself as he was of his crew.^[207] Costume designer Dorothy Jenkins, who worked with DeMille on O'n amr (1956), described that DeMille was skilled in humiliating people. Jenkins admitted that she received quality training from DeMille, but that it was necessary to become a perfectionist on a DeMille set to avoid being fired.^[208] DeMille had an authoritarian persona on set; he required absolute attention from the cast and crew. He had a band of assistants who catered to his needs. He would speak to the entire set, sometimes enormous with countless numbers of crew members and extras, via a microphone to maintain control of the set. He was disliked by many inside and outside of the film industry due to his cold and controlling reputation.^{[209][13-eslatma]}

DeMille was known for autocratic behavior on the set, singling out and berating extras who were not paying attention. Many of these displays were thought to be staged, however, as an exercise in discipline.^[211] He despised actors who were unwilling to take physical risks, especially when he had first demonstrated that the required stunt would not harm them. Bu sodir bo'ldi Viktor etuk yilda Shimshon va Dalila. Mature refused to wrestle Jackie the Lion, even though DeMille had just tussled with the lion, proving that he was tame. DeMille told the actor that he was "one hundred percent yellow".^[212] Paulette Goddard 's refusal to risk personal injury in a scene involving fire in Fath qilinmagan cost her DeMille's favor and a role in Erdagi eng buyuk shou.^[213] DeMille did receive help in his films, notably from Alvin Uaykoff who shot forty-three of DeMille's films;^[80] brother William deMille who would occasionally serve as his screenwriter;^[82] and Jeanie Macpherson, who served as DeMille's exclusive screenwriter for fifteen years;^[214] and Eddie Salven, DeMille's favorite assistant director.^[207]

DeMille made stars of unknown actors: Gloria Swanson, Bebe Daniels, Rod La Rok, Uilyam Boyd, Klodet Kolbert, and Charlton Heston.^{[215][216][217]} He also cast established stars such as Gary Cooper, Robert Preston, Paulette Goddard and Fredrik Mart in multiple pictures.^[218][219] DeMille displayed a loyalty to his performers, casting them repeatedly including: Henry Wilcoxon,^[220] Julia Faye, Jozef Shildkraut,^[221] Yan Keyt,^[222] Charlz Bikford,^[223] Teodor Roberts, Akim Tamiroff^[224] va Uilyam Boyd.^[225][226] DeMille was credited by actor Edvard G. Robinson with saving his career following his eclipse in the Gollivudning qora ro'yxati.^[227]

Uslub va mavzular

Cecil B. DeMille's film production career evolved from critically significant silent films to financially significant sound films. He began his career with reserved yet brilliant melodramas. From there, DeMille's style developed into marital comedies with outrageously melodramatic plots.^[228] In order to attract a high-class audience, DeMille based many of his early films on stage melodramas, novels, and short stories.^[229] He began the production of epics earlier in his career until they began to solidify his career in the 1920s. By 1930, DeMille had perfected his film style of mass-interest spectacle films with Western, Roman, or Biblical themes.^[228] DeMille was often criticized for making his spectacles too colorful and for being too occupied with entertaining the audience rather than accessing the artistic and auteur possibilities that film could provide. However, others interpreted DeMille's work as visually impressive, thrilling, and nostalgic. Along the same lines, critics of DeMille often qualify him by his later spectacles and fail to consider several decades of ingenuity and energy that defined him during his generation.^[228] Throughout his career, he did not alter his films to better adhere to contemporary or popular styles.^[230] Actor Charlton Heston admitted DeMille was, "terribly unfashionable" and Sidney Lumet called Demille, "the cheap version of D.W. Griffit," adding that DeMille, "[didn't have]...an original thought in his head," though Heston added that DeMille was much more than that.^[231]

Cecil B. DeMille at Paramount Pictures

According to Scott Eyman, DeMille's films were at the same time masculine and feminine due to his thematic adventurousness and his eye for the extravagant.^[231] DeMille's distinctive style can be seen through camera and lighting effects as early as Squaw Man with the use of daydream images; moonlight and sunset on a mountain; and side-lighting through a tent flap.^[232] In the early age of cinema, DeMille differentiated the Lasky Company from other production companies due to the use of dramatic, low-key lighting they called "Lasky lighting" and marketed as "Rembrandt yoritgichi " to appeal to the public. DeMille achieved international recognition for his unique use of lighting and color tint in his film Cheat.^[233] DeMille's 1956 version of O'n amr, according to director Martin Scorsese, is renowned for its level of production and the care and detail that went into creating the film. U buni ta'kidladi O'n amr was the final culmination of DeMille's style.^[234]

DeMille was interested in art and his favorite artist was Gustav Dori; DeMille based some of his most well-known scenes on the work of Doré.^[191] DeMille was the first director to connect art to filmmaking; he created the title of "art director" on the film set.^[235] DeMille was also known for his use of special effects without the use of digital technology. Notably, DeMille had cinematographer Jon P. Fulton yaratish Qizil dengizning ajralishi scene in his 1956 film O'n amr, which was one of the most expensive special effects in film history, and has been called by Stiven Spilberg "the greatest special effect in film history". The actual parting of the sea was created by releasing 360,000 gallons of water into a huge water tank split by a U-shaped trough, overlaying it with film of a giant waterfall that was built on the Paramount backlot, and playing the clip backwards.^{[236][189][237]}

Aside from his Biblical and historical epics which are concerned with how man relates to God, some of DeMille's films contained themes of "neo-naturalism" which portray the conflict between the laws of man and the laws of nature.^[238] Although he is known for his later "spectacular" films, his early films are held in high regard by critics and film historians. DeMille discovered the possibilities of the "bathroom" or "boudoir" in film without being "vulgar" or "cheap".^[187] DeMille's films Erkak va ayol, Nega xotinini o'zgartirish kerak? va Anatol ishlari can be retrospectively described as baland lager and are categorized as "early DeMille films" due to their particular style of production and costume and set design. However, his earlier films Asir, Kindling, Karmen va Pichirlagan xor are more serious films.^[187] It is difficult to typify DeMille's films into one specific genre. His first three films were Westerns, and he filmed many Westerns throughout his career. However, throughout his career, he filmed comedies, periodic and contemporary romances, dramas, fantasies, propaganda, Biblical spectacles, musical comedies, suspense, and war films. At least one DeMille film can represent each film genre.^[187] DeMille produced the majority of his films before the 1930s, and by the time sound films were invented, film critics saw DeMille as antiquated, with his best filmmaking years behind him.^[239]

DeMille's films contained many similar themes throughout his career. However, the films of his silent era were often thematically different than the films of his sound era. His silent era films often included the "battle of the sexes" theme due to the era of women's suffrage and the enlarging role of women in society.^[240] Moreover, before his religious-themed films, many of his silent era films revolved around "husband-and-wife-divorce-and-remarry satires", considerably more adult-themed. According to Simon Louvish, these films reflected DeMille's inner thoughts and opinions about marriage and human sexuality.^[241] Religion was a theme that DeMille returned to throughout his career. Of his seventy films, five revolved around stories of the Bible and the New Testament; however many others, while not direct retellings of Biblical stories, had themes of faith and religious fanaticism in films such as Salib yurishlari va Kechagi yo'l.^[109] Western and frontier American were also themes that DeMille returned to throughout his career. His first several films were westerns and he produced a chain of westerns during the sound era. Instead of portraying the danger and anarchy of the West, he portrayed the opportunity and redemption found in Western America.^[242] Another common theme in DeMille's films is the reversal of fortune and the portrayal of the rich and the poor, including the war of the classes and man versus society conflicts such as in Oltin imkoniyat va Cheat.^[243] In relation to his own interests and sexual preferences, sadomazoxizm was a minor theme present in some of his films.^[244] Another minor characteristic of DeMille's films include train crashes which can be found in several of his films.^[245]

Meros

Charlton Heston as Moses in O'n amr which is the eighth highest grossing film in the world, adjusted for inflation

Known as the father of the Hollywood motion picture industry, Cecil B. DeMille made 70 films including several box-office hits. DeMille is one of the more commercially successful film directors in history^[246] with his films before the release of O'n amr estimated to have grossed $650 million worldwide.^[247] Adjusted for inflation, DeMille's remake of O'n amr is the eighth highest-grossing film in the world.^[248]

According to Sam Goldwyn, critics did not like DeMille's films, but the audiences did and "they have the final word".^[249] Similarly, scholar David Blanke, argued that DeMille had lost the respect of his colleagues and film critics by his late film career. However, his final films maintained that DeMille was still respected by his audiences.^[250] Five of DeMille's film were the highest-grossing films at the year of their release, with only Spielberg topping him with six of his films as the highest-grossing films of the year. DeMille's highest-grossing films include: Xoch belgisi (1932), Fath qilinmagan (1947), Shimshon va Dalila (1949), Erdagi eng buyuk shou (1952) va O'n amr (1956).^[251] Direktor Ridli Skott has been called "the Cecil B. DeMille of the digital era" due to his classical and medieval epics.^[252]

Despite his box-office success, awards, and artistic achievements, DeMille has been dismissed and ignored by critics both during his life and posthumously. He consistently was criticized for producing shallow films without talent or artistic care. Compared to other directors, few film scholars have taken the time to academically analyze his films and style. Davomida Frantsuz yangi to'lqinlari, critics began to categorize certain filmmakers as mualliflar kabi Xovard Xoks, Jon Ford va Raul Uolsh. DeMille was left off the list, determined to be too unsophisticated and antiquated to be considered an auteur.^[253] Biroq, Simon Luvish wrote "he was the complete master and auteur of his films"^[254] and Anton Kozlovic called him the "unsung American auteur".^[255] Endryu Sarris, a leading proponent of the auteur theory, ranked DeMille highly as an auteur in the "Far Side of Paradise", just below the "Pantheon". Sarris added that despite the influence of styles of contemporary directors throughout his career, DeMille's style remained unchanged. Robert Birchard wrote one could argue auteurship of DeMille on the basis that DeMille's thematic and visual style remained consistent throughout his career. However, Birchard acknowledged that Sarris's point was more likely that DeMille's style was behind the development of film as an art form.^[256] Meanwhile, Sumiko Higashi sees DeMille as "not only a figure who was shaped and influenced by the forces of his era but as a filmmaker who left his own signature on the madaniyat sanoati."^[257] Tanqidchi Camille Paglia chaqirdi O'n amr one of the ten greatest films of all time.^[258]

DeMille directing, 1920

DeMille was one of the first directors to become a celebrity in his own right.^[259] He cultivated the image of the omnipotent director,^[260] bilan to'liq megafon, haydash ekinlari va jodhpurs.^[261][262] He was known for his unique, working wardrobe which included riding boots, riding pants, and soft, open necked shirts.^[263] Jozef Xenaberi recalled that DeMille looked like "a king on a throne surrounded by his court" while directing films on a camera platform.^[264]

DeMille was respected by his peers, yet his individual films were sometimes criticized. "Directorially, I think his pictures were the most horrible things I've ever seen in my life", said director Uilyam Uellman. "But he put on pictures that made a fortune. In that respect, he was better than any of us", Wellman added.^[265] Producer David O. Selznick wrote: "There has appeared only one Cecil B. DeMille. He is one of the most extraordinarily able showmen of modern times. However much I may dislike some of his pictures, it would be very silly of me, as a producer of commercial motion pictures, to demean for an instant his unparalleled skill as a maker of mass entertainment."^[266] Salvador Dali wrote that DeMille, Uolt Disney va Birodarlar Marks were "the three great American Syurrealistlar ".^[267] DeMille appeared as himself in numerous films, including the MGM comedy Bepul va oson.^[268] He often appeared in his coming-attraction trailers and narrated many of his later films,^[269] even stepping on screen to introduce O'n amr.^[270] DeMille was immortalized in Billi Uaylder "s Quyosh botishi bulvari when Gloria Swanson spoke the line: "All right, Mr. DeMille. I'm ready for my close-up." DeMille plays himself in the film.^[271] DeMille's reputation had a renaissance in the 2010s.^[272]

As a filmmaker, DeMille was the aesthetic inspiration of many directors and films due to his early influence during the crucial development of the film industry. DeMille's early silent comedies influenced the comedies of Ernst Lyubits and Charlie Chaplin's Parijlik ayol. Additionally, DeMille's epics such as Salib yurishlari ta'sirlangan Sergey Eyzenshteyn "s Aleksandr Nevskiy. Moreover, DeMille's epics inspired directors such as Howard Hawks, Nikolas Rey, Jozef L. Mankievich va Jorj Stivens to try producing epics.^[231] Cecil B. DeMille has influenced the work of several well-known directors. Alfred Xitkok cited DeMille's 1921 film Taqiqlangan meva as an influence of his work and one of his top ten favorite films.^[273] DeMille has influenced the careers of many modern directors. Martin Scorsese cited Fath qilinmagan, Shimshon va Dalilava Erdagi eng buyuk shou as DeMille films that have imparted lasting memories on him.^[274] Scorsese said he had viewed O'n amr forty or fifty times.^[275] Famed director Steven Spielberg stated that DeMille's Erdagi eng buyuk shou was one of the films that influenced him to become a filmmaker.^[73] Furthermore, DeMille influenced about half of Spielberg's films, including Dunyolar urushi.^{[231][14-eslatma]} O'n amr ilhomlangan DreamWorks animatsiyasi 's later film about Moses, Misr shahzodasi.^[277] As one of the establishing members of the Paramount Pictures and co-founder of Hollywood, DeMille had a role in the development of the film industry.^[255] Consequently, the name "DeMille" has become synonymous with filmmaking.^[255]

Publicly Episcopalian, DeMille drew on his Christian and Jewish heritage to convey a message of tolerance.^[278][279] DeMille received more than a dozen awards from Jewish religious and cultural groups, including B'nay Brit.^[280] However, not everyone received DeMille's religious films favorably. DeMille was accused of antisemitism after the release of Shohlar qiroli,^[281] va rejissyor Jon Ford despised DeMille for what he saw as "hollow" biblical epics meant to promote DeMille's reputation during the politically turbulent 1950s.^[282] In response to the claims, DeMille donated some of the profits from Shohlar qiroli xayriya uchun.^[189] 2012 yilda Sight & Sound poll, both DeMille's Shimshon va Dalila and 1923 version of O'n amr received votes, but did not make the top 100 films.^[283] Although many of DeMille's films are available on DVD va Blu ray release, only 20 of his silent films are commercially available on DVD ^{[284][15-eslatma]}

Commemoration and tributes

The Laski-DeMille ombori was the place of origin of Paramount rasmlari and the location in which Squaw Man (1913) was filmed. Bu bo'ldi Hollywood Heritage Museum 1985 yilda.

Asl nusxa Laski-DeMille ombori unda Squaw Man was filmed was converted into a museum named the "Hollywood Heritage Museum ". It opened on December 13, 1985 and features some of DeMille's personal artifacts.^[286][287] The Lasky-DeMille Barn was dedicated as a California historical landmark in a ceremony on December 27, 1956; DeMille was the keynote speaker.^[180] va ro'yxatiga kiritilgan Tarixiy joylarning milliy reestri 2014 yilda.^[288] The Dunes Center in Guadalupe, Kaliforniya contains an exhibition of artifacts uncovered in the desert near Guadalupe from DeMille's set of his 1923 version of O'n amr, known as the "Lost City of Cecil B. DeMille".^{[289][16-eslatma]} Donated by the Cecil B. DeMille Foundation in 2004, the moving image collection of Cecil B. DeMille is held at the Akademiya filmlari arxivi and includes home movies, outtakes, and never-before-seen test footage.^[291]

In summer 2019, The Friends of the Pompton Lakes Library hosted a Cecil B DeMille film festival to celebrate DeMille's achievements and connection to Pompton Lakes. They screened four of his films at Christ Church, where DeMille and his family attended church when they lived there.^[292] Two schools have been named after him: Cecil B. DeMille Middle School, in Long-Bich, Kaliforniya, which was closed and demolished in 2010 to make way for a new high school;^[293] and Cecil B. DeMille Elementary School in Midvey Siti, Kaliforniya.^[113][294] The former film building at Chapman universiteti yilda Orange, Kaliforniya, is named in honor of DeMille.^[295] During the Apollo 11 mission, Buzz Aldrin refers to himself in one instance as "Cecil B. DeAldrin", as a humorous nod to DeMille.^[296] The title of the 2000 Jon Uoters film Sesil B. Dements alludes to DeMille.^[297][298]

DeMille's legacy is maintained by his granddaughter Cecilia DeMille Presley who serves as the president of the Cecil B. DeMille Foundation, which strives to support higher education, child welfare, and film in Southern California.^[299] In 1963, the Cecil B. DeMille Foundation donated the "Paradise" ranch to the Hathaway Foundation, which cares for emotionally disturbed and abused children.^[86] A large collection of DeMille's materials including scripts, storyboards, and films resides at Brigham Young universiteti yilda L. Tom Perrining maxsus to'plamlari.^[300][301]

Mukofotlar va e'tirof

DeMille (middle, standing) receives an Honorary Doctorate degree at Brigham Young University commencement, 1957

Cecil B. DeMille received many awards and honors, especially later in his career. The American Academy of Dramatic Arts honored DeMille with an Alumni Achievement Award in 1958.^[302] In 1957, DeMille gave the commencement address for the graduation ceremony of Brigham Young University wherein he received an honorary Doctorate of Letter degree.^[303] Additionally, in 1958, he received an honorary Doctorate of Law degree from Temple universiteti.^[304] From the film industry, DeMille received the Irving G. Thalberg Memorial Award at the Academy Awards in 1953,^[305] and a Lifetime Achievement Award from the Directors Guild of America Award the same year.^[306] In the same ceremony, DeMille received a nomination from Directors Guild of America Award for Outstanding Directorial Achievement in Motion Pictures for Erdagi eng buyuk shou.^[307] In 1952, DeMille was awarded the first Cecil B. DeMille Award at the Oltin globus. An annual award, the Golden Globe's Cecil B. DeMille Award recognizes lifetime achievement in the film industry.^{[308][309][17-eslatma]} For his contribution to the motion picture and radio industry, DeMille has two stars on the Gollivudning Shon-sharaf xiyoboni. The first, for radio contributions, is located at 6240 Hollywood Blvd. The second star is located at 1725 Vine Street.^[173]

DeMille received two Oskar mukofotlari: an Honorary Award for "37 years of brilliant showmanship" in 1950^[312] and a Best Picture award in 1953 for Erdagi eng buyuk shou.^[305] DeMille received a Golden Globe Award for Best Director^[313] and was additionally nominated for the Eng yaxshi rejissyor category at the 1953 Academy Awards for the same film.^[314] He was further nominated in the Best Picture category for O'n amr at the 1957 Academy Awards.^[315] DeMille's Birlik Tinch okeani oldi Palma d'Or in retrospect at the 2002 Cannes Film Festival.^[316]

Two of DeMille's films have been selected for preservation in the Milliy filmlar registri Amerika Qo'shma Shtatlari tomonidan Kongress kutubxonasi: Cheat (1915) va O'n amr (1956).^[317]

Filmografiya

Cecil B. DeMille made 70 features.^[157] Fifty-two of his features are silent films. The first 24 of his silent films were made in the first three years of his career (1913-1916).^[109] Eight of his films were "epics" with five of those classified as "Biblical".^[109] Six of DeMille's films including Arab, Yovvoyi g'ozlarni ta'qib qilish, Tushdagi qiz, Iblis-tosh, Bizda hamma narsa bo'lmaydiva Squaw Man (1918) were destroyed due to nitrate decomposition and are considered lost.^[318] O'n amr is broadcast every Saturday at Passover in the United States on the ABC televizion tarmog'i.^[319]

Directed features

Filmography obtained from Gollivudning ellikta rejissyori.^{[320]:21–23}

Jim filmlar

Ovozli filmlar

Directing or producing credit

These films represent those which DeMille produced or assisted in directing, credited or uncredited.

• Brewsterning millionlari (1914, yo'qolgan)^[327]
• Usta aql (1914)
• Yagona o'g'il (1914, yo'qolgan)^[328]
• Qutidagi odam (1914)
• Arvohni buzuvchi (1914, yo'qolgan)^[329]
• Beshdan keyin (1915)^[330]
• Nan of Music Mountain (1917)^[331]
• Chikago (1927, Producer)^[332]
• Olamlar to'qnashganda (1951, executive producer)^[333]
• Dunyolar urushi (1953, executive producer)^[334]
• Qaroqchi (1958, ishlab chiqaruvchi)^[335]

Acting and cameos

DeMille frequently made cameos as himself in other Paramount films. Bundan tashqari, u ko'pincha filmlari uchun yaratgan prologlar va maxsus treylerlarda qatnashgan va tomoshabinlarga shaxsan murojaat qilish imkoniyatiga ega bo'lgan.^[336]

Shuningdek qarang

Tushuntirish yozuvlari

Iqtiboslar

Umumiy manbalar

Tashqi havolalar

• Rasmiy veb-sayt Cecil B. DeMille Foundation tomonidan
• Sesil B. DeMil da Internet Broadway ma'lumotlar bazasi
• Sesil B. DeMil kuni IMDb
• Sesil B. DeMil da TCM filmlar uchun ma'lumotlar bazasi
• Sesil B. DeMil tomonidan yoki u haqida ishlaydi da Internet arxivi
• Sesil B. DeMille "Virtual tarix" da
• Sesil B. DeMilning dastlabki filmlari Devid Pirs tomonidan qilingan xarajatlar va yalpi xarajatlar
• Silent Film Bookshelf

Arxiv materiallari

• Sesil B. DeMille hujjatlari, Vault MSS 1400, L. Tom Perrining maxsus to'plamlari, Garold B. Li kutubxonasi, Brigham Young universiteti, DeMille-ning shaxsiy va ish qog'ozlari, shu jumladan yozishmalar, audio va video yozuvlar, moliyaviy kitoblar va esdalik buyumlari
• Sesil B. DeMille fotosuratlari, Vault MSS P 146, L. Tom Perrining maxsus to'plamlari, Garold B. Li kutubxonasi, Brigham Young universiteti, 6000 fotosuratlar va biografik va shaxsiy reklama
• Sesil B. DeMille Productions yozuvlari Vault MSS 6254, L. Tom Perrining maxsus to'plamlari, Garold B. Li kutubxonasi, Brigham Young universiteti, Cecil B. DeMille Productions-ga tegishli protokollar, yozishmalar va moliyaviy ma'lumotlarni hamda uning eng mashhur filmlarini ishlab chiqarish bilan bog'liq materiallarni o'z ichiga oladi.
• Sesil B. DeMille yozishmalari Vault MSS 8174, L. Tom Perrining maxsus to'plamlari, Garold B. Li kutubxonasi, Brigham Young universiteti, DeMillening shaxsiy va ishbilarmonlik yozishmalari, shu jumladan Beatrice DeMille, Jessi Lasky va Samuel Goldwyn bilan yozishmalar.
• Meri Roberts Rinehartning hujjatlari, Vault SC.1958.03, ULS Maxsus to'plamlari, Pitsburg universiteti kutubxonasi, DeMille bilan uning asarlari haqida suhbatlarni o'z ichiga oladi.
• Sesil Blount DeMille WikiTree-da